Fostex 350 - USING THE PARAMETRIC EQUALIZER

Connect that input to the effect unit from the AUX Buss Out¬
put (24). If your device is stereo, use both left and right
signals. If it is mono, use the left or right buss only, and direct
the aux signal to that output by use of the channel "aux pan
pot” (7). If working in mono, you can of course use the free
aux buss output as a separate, independent mix, using the
‘‘aux buss pan pot” for routing.
Connect the output of the effect unit to any one of the ‘‘4
channel buss in” connectors (21). If you require a mono ef¬
fect return to feed two inputs simultaneously, use a “Y”
adaptor to split the signal to feed two inputs. Make sure that
levels are compatible in accordance with the specifications
of both the Model 350 and the effect unit. Also make sure that
there is no direct path in the effect unit such as a “dry” con¬
trol or switch. If this is present it may add more of the original
signal back to itself and could cause various cancellation and
degradation problems. If such a direct path exists, switch it
out.
When operating, use the “aux buss select” switch (5) on any
channel to route either the pre-fader (effect level independent
of input fader setting) or post-fader (effect level is controlled
by input fader setting) channel signal to the effect unit. Use
the ‘‘aux buss pan pot” (7) for further routing or positioning.
Use the ‘‘gain pot” (6) to adjust the level.
Adjust the appropriate ”4 channel buss input” control (12) for
the required effect return level.
SIGNAL PROCESSING ON INDIVIDUAL CHANNELS
Devices such as compressors, flangers, noise gates or extra
equalizers can simply be connected to individual channels on
the Model 350 by way of the corresponding "accessory send/
receive” jacks (19). Ideally there should be no nominal gain
through the unit and it should be compatible in terms of the
input and output impedances and levels. Remove the link
connecting the two accessory jacks and connect the "send”
to the input of the processor, and its output back to the
"receive” connector. Also refer to manufacturer specifica¬
tions when connecting any external equipment.
Figure 4-2, Effects patch.
Connection of effects unit to one channel
(Accessory patch.)
SECTION 5 USING THE PARAMETRIC EQUALIZER
The Model 350 incorporates two band parametric type
equalizers which have considerable advantage over simple
bass and treble controls that affect the entire low or high fre¬
quency bands.
When equalizing individual instruments it is preferable to
emphasize a narrow band around a preselected frequency.
While a graphic equalizer or switched frequency may provide
a greater selection of frequencies, the parametric design
permits you to find the fundamental tonal qualities of instru¬
ments of those frequency bands which give you the maximum
control over the sound. In PA applications, you will find that
you can tune out acoustic feedback or ringing, or correct
a gross house resonance.
IMPORTANT: Before using any equalizer, always try to
achieve the sound that you want by moving the position of
the microphone or changing the microphone type. Learn to
use good microphone technique before applying electronic
tone correction.
TYPICAL EQUALIZATION RESPONSE GRAPH
INSTRUMENT CUTTING
BOOSTING OTHER COMMENTS
Human Voice Scratchy at 2kHz
Nasal at 1kHz
Popping p’s below
80Hz.
Hot at 8 or 12kHz
Clarity above 3kHz
Bodyat200—400Hz
Tend towards thin
when blending
many voices
Piano Tinny at 1 —2kHz
Boomy at 320Hz
Prosence at 5kHz
Bass at 125Hz
Not too much bass
when mixing with
rhythm section
Electric Guitar Muddy below 80Hz Clarity at 3.2kHz
Bass at 125Hz
Acoustic Guitar Tinny at 2—3.2kHz
Boomy at 200Hz
Sparkle above 5kHz
Full at 125Hz
Electric Bass Tinny at 1kHz
Boomy at 125Hz
Growl at 620Hz
Bass below 80Hz
Sound varies greatly
with strings used
String Bass Hollow at 620Hz
Boomy at 200Hz
Slap at 3.2—5kHz
Bass below 200Hz
Snare Drum Annoying at 1kHz
Crisp above 2kHz
Full at 125Hz
Deep at 80Hz
Also try adjusting
tightness of snare
wires.
Bass Drum Floppy at 620Hz
Boomy below 80Hz
Slap at 3.2 — 5kHz
Bass at 80—125Hz
Usually record with
front drum head off
Put blanket inside
of drum resting
against the head.
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